GALLERY GUIDE RESEARCH GEORGE BALDESSIN “People say my work is ugly and vulgar,” Baldessin noted, but he was a product of his times. The brutality of World War II, the displacement of refugees, the sexual revolution of the ‘60s all had lasting influences on his work. Sexual motifs, the female body and alienated figures embodied all he had remembered and experienced. Baldessin was born in North Italy and came to Australia in 1949. He studied at the Royal Melbourne Institute of Technology (RMIT) 1958 -1961, the Chelsea School of Art in London in 1962 and the Brera Academy of Fine Art in Milan 1962 -1963. At 17 he worked as a waiter at Melbourne’s Menzies Hotel, where the lavish formal dining and banquets showed him the social rituals of a class very different to his own. The visual atmosphere - tablecloths, napkins, silver - made a lasting impression and would later appear at the core of his etchings and sculpture. After gaining a diploma of Fine Art in 1962, Baldessin travelled abroad. In London he was impressed by Moore and Hepworth and encountered Pop Art; David Hockney and the tortured figures of Francis Bacon intrigued him, while European film-makers such as Louis Bunuel inspired his fascination with the female body. Consumed with his English and European experiences, he returned to Australia in 1963 and held his first exhibition at the Argus Gallery, Melbourne. Baldessin worked productively through the 1970s until he was fatally injured in a car accident in 1978. Irene Morrison and Denise Payne GEORGE BALDESSIN Assemblage of Past Images 1973 etching and aquatint on paper gift of BRAGS 1974 SYDNEY BALL “For me it’s the scale that envelopes the viewer, that whole nebula of colour, the ocean of colour, which just soaks you in.” —Sydney Ball 2014 Sydney Ball was a “colourist” and a pioneer in Australian abstract art. He studied architecture and worked in advertising before travelling to New York in 1962 where he enrolled at The Art Students’ League. While in America, Ball was influenced by “The Irascible 18” which included Mark Rothko, Jackson Pollock and Willem de Kooning. Returning to Australia in 1965, Ball brought new abstract techniques and his work was included in the ground-breaking “Field” exhibition at the National Gallery of Victoria in 1968. Ball often worked in series across different mediums, experimenting in oils, acrylics, aerosol paints and various printmaking techniques. Byron Springs is from the artist’s stain series, which reflects Jackson Pollock’s practice of throwing paint and moving it with sticks or squeegees. Of Ball’s new direction, his gallery, Sullivan + Strumpf, observed: “ Gone were the precisely defined edges, the flatness of colour that had characterised earlier series, displaced with canvases flooded with splashes and splatters of colour, permitting a fresh openness and luminosity.” Each of Ball’s series was marked by significant changes in techniques but throughout each period he maintained his obsession with form, colour and light. Denise Payne SYDNEY BALL Byron Springs 1980 screenprint on paper Print Council of Australia subscription 1981 RAY BEATTIE Irish-born Ray Beattie migrated to Australia in 1967. Two years later, he was conscripted to serve in the Vietnam War. Upon his return to Australia in 1971, he settled in Perth and studied art at Claremont Technical School, later specialising in printmaking at Perth Technical College. Meat Hatchet is part of Beattie’s Blade series. In the late 1970s when this print was created Beattie shared a $15-a-week studio in Fremantle with artists Marcus Beilby and Ken Wadrop. In 1980, Lou Klepac curated the High Street Studio Realists exhibition at the Art Gallery of WA. The exhibition featured Beattie and his two flatmates and travelled to the Eastern States to much acclaim. In 2014, the exhibition was re-created as Fremantle Realists and reviewed by Lyn Diciero for The West Australian, who observed, “While art institutions in the 1970s delved further into abstraction, [Ken] Wadrop says the three were at the bottom of the rung. We were the scummy realists. Fortunately punk rock arrived which gave us that rebel stance.” In the article Beilby reflected: We“ were mucking around with traditional realism, exploring what it is to see and perceive, which is what photorealism is about. We liked the idea that we were not elitist and anybody could tap into the pictures. We depicted the everyday - the more ordinary the better.” Jean Thatcher and Denise Payne RAY BEATTIE Meat Hatchet 1977 etching on paper Print Council Subscription 1977 JANET DAWSON Sydney-born Janet Dawson spent her childhood in Forbes, in the central west of New South Wales. She studied at the National Gallery of Victoria Art School in Melbourne during the 1950s and was awarded a travelling scholarship to London where she attended the Slade School of Fine Art, studying lithography under Ceri Richards. She exhibited with the Young Contemporaries, won first prize for lithography and obtained a Boise Scholarship, which enabled her to work in Anticoli, outside Rome, before moving to Paris where she printed works by artists such as Pierre Soulages, Fritz Hundertwasser and Kumi Sugai. In 1961, Dawson returned to Australia aware of all the latest developments in international art. She had a solo exhibition at Sydney’s Gallery A, curated an exhibition of Bauhaus work for the Gallery, and contributed to the revival of printmaking in Australia when in 1963 she established a print workshop, working with such artists as John Olsen, Fred Williams, Russell Drysdale, Albert Tucker and Colin Lanceley. In 2006, the Bathurst Regional Art Gallery staged Janet Dawson: Survey 1952 – 2006, curated by Christine France. In the accompanying catalogue, Dawson reflected, “Printmaking forces one to think conceptually, one has to be economical, one has to consider various states of the print as being vital in themselves, with no possibility of erasure or alternation. If one puts on anything one doesn’t like, one has in the next stage to do something about it.” Denise Payne JANET DAWSON Parts of Fortune 1981 sprayed stencil on paper Print Council of Australia subscription 1982 HELEN EAGER During the 1970s, Sydney-born Helen Eager studied at the South Australian School of Art. In 1980 she travelled in America and Europe and worked in California for a year. While abroad, she studied four printing techniques: etching, relief printing, lithography and silk screen. An extract from an exhibition catalogue at Watters Gallery, Sydney: Helen is one of few Australian artists working in colour lithography, continuing in the tradition of Australian women artists, Grace Cossington Smith and Margaret Preston. Helen portrays a highly individual style, scenes of everyday life. Her coloured drawing technique and distribution of colours enhances these genre scenes, infusing them with a radiating warmth. 9 AM depicts a domestic interior setting with sun streaming through the window, a chair and books suggesting the human presence, and the delicate shading of the walls. In an interview with Linda Slutkin 1983, Eager admitted: “I get a great deal of satisfaction not only out of drawing and planning a print but also from actually printing it, although it is time-consuming and physically and mentally demanding. I don’t think anyone would print my prints as I would like them or as I would print them.” Of her working progress, Eager explained, “Once you have the plan worked out, it takes about 2 to 8 hours to draw up a plate and prepare the paper, ink and press. Then if the printing runs smoothly you could print, say, 20 prints in 2 hours With an assistant it is faster to process than etching and slower than relief printing or screen printing.” Denise Payne HELEN EAGER 9am 1977 lithograph on paper Bathurst Art Prize 1979 MERRAN ESSON BRAGS acquired Untitled slab from the 1985 Bathurst Art Prize. Merran Esson observed that Bathurst was one of the few galleries offering prize money for ceramics in the 1980s and she was “truly encouraged” by the purchase of her work. She draws inspiration from her rural childhood combine with the urban confines of city life to produce large containers connecting in ways that explore mutual survival. She observed that clay as a material that can mimic a metal surface. The coloured textured Untitled slab was created as a result of Esson visiting castles and gardens in Scotland; she was fascinated in particular by the markings on the flat-surfaced sundials. Esson recently retired from the National Art School, Sydney, where she was Head of Ceramics. She had studied ceramics at Caulfield Technical College from 1974 to 1976, and gained a Master of Art Degree from Monash University in 2004. Margaret Marshall MERRAN ESSON Untitled slab 1983 porcelain Bathurst Art Prize 1985 ROD EWINS BRAG Volunteer Judith Nash: “Would you please explain the technique/process you used in Edge of Memory?” Artist Roderick Ewins: “Edge of Memory is a photo-etching. It was made nearly 20 years before the advent of Photoshop, and at the time the process involved taking black-and-white photos, using an enlarger to expose the 35mm negatives onto positive film of the appropriate size. I did not use half- tone film to produce the tonal range on the positives, but used a Kodak developer called Microlith to produce a very fine grain in the images. It was far more subtle than one can get using Photoshop today, but the materials I used are now obsolete and unobtainable, so the procedure could not be replicated ever again. Before producing the positives, I started making small drawings, placing the bits of an idea together and deciding what would go where.